TALES FROM THE FORGOTTEN REALM

'Tales from the Forgotten Realm' is an entirely instrumental symphonic prog release, recorded and performed by US-native musician Daniel Cross, a newcomer into the prog scene who focuses explicitly on the possibilities of his keyboards, as portrayed on his inaugural studio album. The man also plays some drums and bass, although these instruments are more complementary to the keyboard and synth sounds, rather than his main emploi. The composition on here are usually in the 10-minute mark and are thematically focused on some Medieval tales, although no lyrics are sang all throughout. A lot of quirky mellotron-dominated passages exemplify the dark undertones of this fascinating album that occasionally reminisces a lot of 70s classic prog. 'Tales From the Forgotten Realm' is an interesting release and a fine listen, but it would be much more fascinating to imagine Daniel Cross' compositions in a band setting as his musical direction could bring an interesting gloomier edge, I imagine, to a classic prog-oriented collective. The sounds on here are quite minimalistic in terms of textures and layering, as what you hear is exactly what is played, giving this album a sort of Arts & Crafts vibe.

There are many one -man multi-instrumentalists out there in Progland, who defy the band-or-nothing standard and do a perfectly lonely job of DIY, relying only on themselves. Very lucky to have hunted down previous solo wolves like Ian Hill, Arnaud Bukwald, Roland Buhlmann, Phog, Liquefy, Geoff Proudley, Patrick Broguière, Ian Neal and many others. The end results are often not the hyper polished, ear seductive and prowess centric masterpieces that seem to crown most lists but on the other hand, the benefits of personality, honesty and technique can be most rewarding for both the artist and the audience. Daniel Cross unveils his craft from somewhere in the USA, highlighting a keyboard festival that not only includes the usual prog suspects such as mellotron, organ and synths but also some electronic sheens to further colorize the tracks with atmosphere and density. One can also clearly detect some sounds that are variations of famous prog classics, which need no clarification as they really jump out of the speakers with jovial impunity.

Sweeping mellotron tapestry infuses "The Sacred Spire", with a knife-like coda that winks at you, pummeled along by synthetic bass and percussion during the course of its 9- and one-half minutes. Transitioning into a more somber state, with steely choir and an ominous undertow, the mood veers further into a contrasting modern/medieval feel that has cinema soundtrack stamped all over it. The finale returns to initial rampage that hint at 'stand up and fight, for you know we are right'. This track has won.

The near dozen minute long title track also implies even more gloom and doom, with stark sonics-laden misery from the mighty mellotron, leading to a sense of impending revelation as the main theme kicks in gracefully majestic and overpowering. Then swerving into another wink at the 'moon eclipsed the sun', as well as Bach-ing into a harder edge corner that has a slight Triumvirat feel, the arrangement continuously evolves through inspired channels, an instrumental kaleidoscope of acquainted resonances. Colliding electric piano with synthesized 'boings', as the windswept them sets icily forward, undertaking a new direction, Cross keeps the pace well in check. Murky, creepy, and even spectral, the impact is immensely pleasing. The climax is suitably solemn, the realm no longer forgotten, but rather well traveled.

The lively "Divine Conquest" combines a bass line with clanging piano and more synthesized electronica, athletically muscled along by that orchestral white machine, undulating as if searching for some celestial reprieve. Higher and higher it spirals until the goal is met. We have arrived.

Speaking of which, "The Arrival of the Beast 1509 AD" closes off this intriguing recording with some added flair. My numerous history books indicate that the title perhaps refers to the succession of Henry VIII to the throne of England, among a few other possibilities but the presence of Rick Wakeman's first solo album (and outright masterpiece) "the Six Wives of Henry VII" should indicate the correctness of this assumption. By and large a grave sonic affair full of tragedy and doom, there is little lightness here to illuminate the soul, quite the contrary. Dark and subdued sections contribute to an intense experience, perfectly depicting the cover art that shows the legend of St-George slaying the dragon, in an act of typical medieval bravery as the praying maiden awaits her deliverance.

Very enjoyable musical journey that is mood setting, utterly unpretentious as well as paying the deserved homage to the greats of instrumental progressive rock. 4 overlooked domains